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== Muzički stil ==
Muzika benda je u početku bila bazirana na rok buzici šezdesetih godina , naročito na esid roku i psihodeličnom roku . Bend je svirao na Donovanovom "Get Thy Bearings" uživo i bilo je poznato da sviraju pesmu Bitlsa "Lucy in the Sky with Diamonds" na tonskim probama. Međutim , u sopstvenim kompozicijama , King Krimson je za razliku od ranijih rok bendova , uglavnom izbacivao uticaje bluza i menjao ih uticajima klasičnih kompozitora. Prva postava King Krimsona je svirala Mars deonicu svite "Planete" Gustava Holsta kao regularni deo izvedbi i Frip je često citirao fraze Bele Bartoka. Kao rezultat ovih uticaja , In the Court of the Crimson King se često posmatra kao početna tačka progresivnog roka . King krimson je takođe imao i jake uticaje džeza , što je najočiglednije u prvoj numeri prvog albuma "21st Century Schizoid Man". Bend je takođe vukao uticaje engleske narodne muzike za kompozicije kao što je "Moonchild" i "I Talk to the Wind".Ujedinjenje 1981. donosi još dodatnih uticaja kao na primer gamelan muzike i moderne klasične muzike dvadesetog veka. Ujedinjenje 1994. donosi nove tehnologije u zvuk , kao i uticaje grunge i industrial muzike, kao i proširenje ambijentalnih tekstura Fripovom Soundscapes looping tehnikom.
=== Compositional approachesImprovizacija ===
Several King Crimson compositional approaches have remained constant from the earliest versions of the band to the present. These include:
* The use of a gradually building rhythmic motif.<ref>{{cite news|url=http://nl.newsbank.com/nl-search/we/Archives?p_product=BG&p_theme=bg&p_action=search&p_maxdocs=200&p_topdoc=1&p_text_direct-0=0EADE15743A797D1&p_field_direct-0=document_id&p_perpage=10&p_sort=YMD_date:D|title=Rhythm at the heart of the expanded King Crimson|author=|date=3 June 1995|work=[[The Boston Globe]]|accessdate=24 June 2007|publisher=nl.newsbank.com|format=fee required}}</ref> These include "The Devil's Triangle" (an adaptation and variation on the [[Gustav Holst]] piece ''Mars'' played by the original King Crimson, based on a complex pulse in {{music|time|5|4}} time over which a skirling melody is played on a [[Mellotron]]), 1973's "The Talking Drum" (from ''[[Larks' Tongues in Aspic]]''), 1984's "Industry" (from ''[[Three of a Perfect Pair]]'') and 2003's "Dangerous Curves" (from ''[[The Power to Believe]]'').<ref>{{cite news|url=http://www.jsonline.com/story/index.aspx?id=126150|title=King Crimson a study in contrasts|author=Carter, Nick|date=17 March 2003|work=[[Milwaukee Journal Sentinel]]|accessdate=24 June 2007|archiveurl=https://web.archive.org/web/20070929133255/http://www.jsonline.com/story/index.aspx?id=126150|archivedate=29 September 2007|publisher=jsonline.com|quote=[...] the band manages to break free of all the aural fog, as it did on the rhythmically romping "Dangerous Curves" and "The World's My Oyster Soup Kitchen Floor Wax Museum," [...]}}</ref>
* An instrumental piece (often embedded as a break in a song) in which the band plays an ensemble passage of considerable rhythmic and [[Polyrhythm|polyrhythmic]] complexity.<ref>{{cite news|url=http://nl.newsbank.com/nl-search/we/Archives?p_product=NATB&p_theme=natb&p_action=search&p_maxdocs=200&p_topdoc=1&p_text_direct-0=108E7CEA36AE9273&p_field_direct-0=document_id&p_perpage=10&p_sort=YMD_date:D&s_trackval=GooglePM|title=Don't miss this one from Cat Stevens: 'Majikat' is pure magic|author=Whitney, Bruce|date=17 March 2005|work=[[North Adams Transcript]]|accessdate=24 June 2007|publisher=nl.newsbank.com|format=fee required|quote=[...] King Crimson-esque polyrhythm [...]}}</ref> An early example is the band's initial signature tune "[[21st Century Schizoid Man]]", but the "[[Larks' Tongues in Aspic (instrumental)|Larks' Tongues in Aspic]]" series of compositions (as well as pieces of similar intent such as "THRAK" and "Level Five") go deeper into polyrhythmic complexity, delving into rhythms that wander into and out of general synchronisation with each other, but that all 'finish' together through polyrhythmic synchronisation. These polyrhythms were particularly abundant in the band's 1980s work, which contained gamelan-like rhythmic layers and continual overlaid [[staccato]] patterns in counterpoint.
* The composition of difficult solo passages for individual instruments, such as the guitar break on "Fracture" on ''[[Starless and Bible Black]]''.<ref name="BOOK">{{cite book|url=http://www.progressiveears.com/frippbook/contents.htm|title=Robert Fripp – From Crimson King to Crafty Master|last=Tamm|first=Eric|publisher=Progressive Ears (progressiveears.com)|archiveurl=https://web.archive.org/web/20150117003357/http://www.progressiveears.com/frippbook/contents.htm|archivedate=17 January 2015|deadurl=yes|df=dmy-all}}</ref>
* The juxtaposition of ornate tunes and ballads with unusual, often dissonant noises (such as "Cirkus" from ''[[Lizard (album)|Lizard]]'', "Ladies of the Road" from ''[[Islands (King Crimson album)|Islands]]'' and "Eyes Wide Open" from ''[[The Power to Believe]]'').<ref name="metalstorm1">{{cite web|url=http://www.metalstorm.net/bands/biography.php?band_id=3223&bandname=King+Crimson|title=King Crimson - Biography|author=<!--Not stated-->|date=2017|website=Metal Storm|access-date=7 November 2017}} </ref>
* The use of improvisation.
* Ascending note structure (e.g. "Facts of Life" and "THRAK").<ref name="metalstorm1" />
=== Improvisation ===
{{Quote box|style=padding:10px;|quote="We're so different from each other that one night someone in the band will play something that the rest of us have never heard before and you just have to listen for a second. Then you react to his statement, usually in a different way than they would expect. It's the improvisation that makes the group amazing for me. You know, taking chances. There is no format really in which we fall into. We discover things while improvising and if they're really basically good ideas we try and work them in as new numbers, all the while keeping the improvisation thing alive and continually expanding."|source=—King Crimson violinist David Cross on the mid-1970s band's approach to improvisation.<ref name=BOOK/>|width=28%|align=right}}
King Krimson je od početka imao improvizacije u studijskim snimcima , kao i u izvedbama , neke od kojih su bile labilno ubačene u kompozicije kao što su "Moonchild" i "THRaK". Većina nastupa je uključivalo bar jednu samostalnu improvizaciju gde bi bend jednostavno počeo da svira , i pustio da muzika ode gde god želi , ponekad uključivajući deonice uzdržane tišine , kao na Bil Brufordovom doprinosu improvizaciji "[[Trio]]". Najraniji primer King Krimsonove višeznačne improvizacije je često kritikovana proširena koda kompozicije "[[Moonchild]]" sa albuma [[In the Court of the Crimson King]].
King Crimson have incorporated improvisation into their performances and studio recordings from the beginning, some of which has been embedded into loosely composed pieces such as "[[Moonchild (King Crimson song)|Moonchild]]" or "THRaK".<ref>{{cite web|url=http://www.highbeam.com/doc/1P1-48962738.html|title=Interview: Talking with the experimental guitarist of King Crimson|author=Purcell, Kevin|date=14 December 2001|publisher=University Wire (highbeam.com)|format=fee required|archive-url=https://web.archive.org/web/20110516175226/http://www.highbeam.com/doc/1P1-48962738.html|archive-date=16 May 2011|dead-url=yes|accessdate=24 June 2007|quote=Gunn: [...] We have a couple loose-form songs where improvisation can take place. Even within the very structured pieces Pat (Mastelotto) and I change what we do.}}</ref> Most of the band's performances over the years have included at least one stand-alone improvisation where the band simply started playing and took the music wherever it went, sometimes including passages of restrained silence, as with Bill Bruford's contribution to the improvised "Trio". The earliest example of King Crimson unambiguously improvising is the spacious, oft-criticised extended coda of "Moonchild" from ''In the Court of the Crimson King''.<ref>{{cite news|url=https://www.rollingstone.com/artists/kingcrimson/albums/album/215038/review/6067524/in_the_court_of_the_crimson_king|title=''In the Court of the Crimson King'' review|author=Northland, John|date=17 June 1997|work=Rolling Stone|accessdate=24 June 2007|quote="Moonchild" [...] is the only weak song on the album. Most of its 12 minutes is taken up with short statements by one or several instruments.}}</ref><ref>{{cite news|url=https://www.questia.com/read/1G1-64148575|title=CD Reviews: Pop CD of the Week|date=12 August 2000|work=[[Birmingham Post]]|accessdate=24 June 2007|publisher=Questia Online Library|format=fee required|quote=For those with long enough memories think of King Crimson's Moonchild, the bit no one plays, and you're almost there.}}</ref>
Rather than using the standard jazz or blues "jamming" format for improvisation (in which one soloist at a time takes centre stage while the rest of the band lies back and plays along with established rhythm and chord changes), King Crimson improvisation is a group affair in which each member of the band is able to make creative decisions and contributions as the music is being played.<ref>{{cite news|url=http://nl.newsbank.com/nl-search/we/Archives?p_product=AT&p_theme=at&p_action=search&p_maxdocs=200&p_topdoc=1&p_text_direct-0=0ED6A09AF7B95C09&p_field_direct-0=document_id&p_perpage=10&p_sort=YMD_date:D|title=A different shade of King Crimson: red hot|date=22 July 2001|work=[[The Atlanta Journal-Constitution]]|accessdate=24 June 2007|publisher=nl.newsbank.com|pages=L4|format=fee required|quote=It's not the diddling, noodling kind of improvising often associated with jazz. This has an aggressive, muscular sound that open-minded listeners can find just as rewarding as it is challenging.}}</ref> Individual soloing is largely eschewed; each musician is to listen to each other and to the group sound, to be able to react creatively within the group dynamic. A slightly similar method of continuous improvisation ("everybody solos and nobody solos") was initially used by King Crimson's jazz-fusion contemporaries [[Weather Report]]. Fripp has used the metaphor of "[[Left-hand path and right-hand path|white magic]]" to describe this process, in particular when the method works particularly well.<ref name="BOOK" />
Umesto da koriste standardni format džez i bluz džema gde se improvizacija ogleda u tome da solilsta improvizuje dok ga ostali prate već utvrđenim ritmom i harmonskom progresijom, King Krimson improvizacija je grupni poduhvat u kom svaki član benda može doneti kreativnu odluku o osvom doprinosu. Individualno soliranje je uglavnom izbegavano , svaki muzičar mora da sluša ostale i generalni zvuk , da bi mogao da odreaguje u kontekstu . Sličan metod su prvobitno koristili savremenici King Krimsona iz jazz-fusion sastava[[Weather Report]]. Frip je koristio metavoru "bele magije" da opiše proces i kada proces radi naročito dobro.
Similarly, King Crimson's improvised music is rarely jazz or blues-based, and varies so much in sound that the band has been able to release several albums consisting entirely of improvised music, such as the ''Thrakattak'' album. Occasionally, particular improvised pieces will be recalled and reworked in different forms at different shows, becoming more and more refined and eventually appearing on official studio releases (the most recent example being "Power to Believe III", which originally existed as the stage improvisation "Deception of the Thrush", a piece played on stage for a long time before appearing on record).<ref name="TPTBPA">{{cite web|url=http://www.progreviews.com/reviews/display.php?rev=kc-tptb|title=The Power to Believe|publisher=Prog Archives (progreviews.com)|archiveurl=https://web.archive.org/web/20070831182245/http://www.progreviews.com/reviews/display.php?rev=kc-tptb|archivedate=31 August 2007|deadurl=yes|accessdate=29 August 2007|df=dmy-all}}</ref>
== Influence ==
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